Allan Sears like so many actors of the silent era, had a career not easily tracked, especially one-hundred years removed. He was a leading man of some renown and considered a tasty acquisition by Triangle Pictures in 1917; his heyday was confined to the non-talkies, slipping into smaller and uncredited roles with each step taken toward sound films.
Sears began his career in 1914, with Granny, starring Dorothy Gish and eighty-five roles later, (with much of his screen time going without acknowledgement) he made his final appearance in Cattle Raiders, in 1938.
In 1920 Sears was signed to play the lead in Kindred of the Dust, based on the novel of the same name, written by Peter B. Kyne, Frank Borzage was set to direct, with on-location shooting to take place at Big Bend, Oregon… but the deal fell through; eventually (1922), Ralph Graves took the lead role and Raoul Walsh directed. Whether Sears felt burned over the aforementioned Kindred of the Dust project or that there were no roles available for him, he made no films in 1921 or 1922 and his only release of 1923, opened in November, Long Live the King, with Jackie Coogan and Rosemary Theby.
As the talking era came on the scene, Sears found himself with no work from 1929 through 1932, but, with Secrets in 1933, he found regular employment over the next four years; excepting ten movies, including his final role, all of his sound-film work went without credit.
The Serious Sears Silent-Film Scene:
The Birth of a Nation, 1915
Martyrs of the Alamo, 1915
The Mystery of the Leaping Fish, 1916
Intolerance: Love’s Struggle Throughout the Ages, 1916
A Girl of the Timber Claims, 1917
Heart o’ the Hills, 1919
Rio Grande, 1920
Judy of Rogue’s Harbor, 1920
The Scarlet Honeymoon, 1925
By C. S. Williams
 Motography, Saturday, November 10, 1917
 The Washington Herald (Washington, D. C.) Sunday, November 14, 1920